[Dixielandjazz] of cool and of altered consciousness
JimDBB@aol.com
JimDBB@aol.com
Sun, 11 Aug 2002 21:29:12 EDT
--part1_12.239ef77e.2a886968_boundary
Content-Type: text/plain; charset="US-ASCII"
Content-Transfer-Encoding: 7bit
In a message dated 8/11/02 7:00:26 PM Central Daylight Time,
tmartino@terra.com.br writes:
>
> Dear Jim, I partially agree; with all my respect for your observation, I
> think that a generalization of this point can be misleading to many
> starters.
Yes, Tito, you are right and I probably shoudl not have brought this up.
> I believe that ALL the outstanding jazz players are outstanding because
> of a inner and natural capacity of increasing his consciousness or state
> of awareness; I mean, they can do that naturally, more than "normal"
> people can do. Most of outstanding players stay satisfied with their
> natural gift; (and Clifford Brown is an example) others, if lazy, or for
> other complicated reasons, reach for more end more and end on drugs. The
> wise and hardworking expand their consciousness just training their
> mind.
>
> During my first tour to the USA, I discovered ( Jack Bradley told me)
> that Louis was a daily smoker of weed; in consequence, I tried too at a
> Concert and was totally deceived by the bad music I produced, when I
> listened next day to the live recording.
>
I did the same and had a similar experience. I found that I couldn't play
worth a damn on pot and what's worse is that I didn't care ( while under the
influence). On jobs and not 'turned on' I would notice that guys who were
turning on were playing badly but they were thinking that they were really
swinging and playing wonderfully.
Artie Shaw in his first book told of having this problem in his band. He
solved it by having the band recorded on the job ( unbeknown to the band)
and playing the recordings back to them when they were sober or not 'turned
on.' Shaw claimed that most of these guys never used pot again...while
performing, at least.
But there were those like Armstrong who used it all the time and played
beautifully.
I worked with one well known guy who used it all the time and he was in a
fog most of the time. Still he made some great music.
I, personally, don't like it.
Jim Beebe
> In the other hand, the simple willingness of communicating love and
> sincere happiness and profound feelings (even sadness) to the public,
> added to a good technical skill and knowledge of Jazz Roots, invariably
> produce outstanding performances. This is my experience.
>
> Respectfully,
> Tito Martino
> Sao Paulo Brazil
>
>
>
--part1_12.239ef77e.2a886968_boundary
Content-Type: text/html; charset="US-ASCII"
Content-Transfer-Encoding: 7bit
<HTML><FONT FACE=arial,helvetica><FONT SIZE=2>In a message dated 8/11/02 7:00:26 PM Central Daylight Time, tmartino@terra.com.br writes:<BR>
<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px"><BR>
Dear Jim, I partially agree; with all my respect for your observation, I<BR>
think that a generalization of this point can be misleading to many<BR>
starters. </FONT><FONT COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"></BLOCKQUOTE><BR>
<BR>
Yes, Tito, you are right and I probably shoudl not have brought this up.<BR>
</FONT><FONT COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">I believe that ALL the outstanding jazz players are outstanding because<BR>
of a inner and natural capacity of increasing his consciousness or state<BR>
of awareness; I mean, they can do that naturally, more than "normal"<BR>
people can do. Most of outstanding players stay satisfied with their<BR>
natural gift; (and Clifford Brown is an example) others, if lazy, or for<BR>
other complicated reasons, reach for more end more and end on drugs. The<BR>
wise and hardworking expand their consciousness just training their<BR>
mind.<BR>
<BR>
During my first tour to the USA, I discovered ( Jack Bradley told me)<BR>
that Louis was a daily smoker of weed; in consequence, I tried too at a<BR>
Concert and was totally deceived by the bad music I produced, when I<BR>
listened next day to the live recording.<BR>
</FONT><FONT COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"></BLOCKQUOTE><BR>
I did the same and had a similar experience. I found that I couldn't play worth a damn on pot and what's worse is that I didn't care ( while under the influence). On jobs and not 'turned on' I would notice that guys who were turning on were playing badly but they were thinking that they were really swinging and playing wonderfully. <BR>
</FONT><FONT COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"> Artie Shaw in his first book told of having this problem in his band. He solved it by having the band recorded on the job ( unbeknown to the band) and playing the recordings back to them when they were sober or not 'turned on.' Shaw claimed that most of these guys never used pot again...while performing, at least.<BR>
<BR>
But there were those like Armstrong who used it all the time and played beautifully.<BR>
I worked with one well known guy who used it all the time and he was in a fog most of the time. Still he made some great music.<BR>
<BR>
I, personally, don't like it.<BR>
<BR>
Jim Beebe<BR>
</FONT><FONT COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
</FONT><FONT COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">In the other hand, the simple willingness of communicating love and<BR>
sincere happiness and profound feelings (even sadness) to the public,<BR>
added to a good technical skill and knowledge of Jazz Roots, invariably<BR>
produce outstanding performances. This is my experience.<BR>
<BR>
Respectfully,<BR>
Tito Martino<BR>
Sao Paulo Brazil <BR>
<BR>
<BR>
</BLOCKQUOTE><BR>
<BR>
</FONT></HTML>
--part1_12.239ef77e.2a886968_boundary--